Review: CATCH ME IF YOU CAN at Playhouse On The Square

Frank Abagnale, Jr. is a REAL character. And by real, I mean totally fake. According to his 1980 memoir and the 2002 film starring Leonardo DiCaprio (directed by Steven Spielberg), this man claims to have worked as an assistant state attorney general, a Pan Am commercial airline pilot and a hospital physician-all without any formal training. He stole over a million dollars writing bad checks and committed fraud in a sundry of ways. Such a person is surely fascinating. Why did he do it? How did he do it? Perhaps though, his biggest heist of all is convincing anyone that it’s actually true. CATCH ME IF YOU CAN, now a musical playing at Playhouse on the Square, continues to be, much like the movie, short on the why and how of it all, but instead focuses on the “not getting caught” part. With music by Marc Shaiman (HAIRSPRAY and CHARLIE AND THE CHOCOLATE FACTORY) and a book by Terrence McNally (RAGTIME and KISS OF THE SPIDER WOMAN), the show is escapist and entertaining enough for those without a discerning eye, but it’s under the direction of Dave Landis and choreography by Daniel Stuart Nelson that the show becomes better than it probably is.

Turning such an outlandish story into a musical makes good sense considering the “heightened” emotions of it all, but the focus on the pursuit rather than the people involved leaves most of the characters feeling two-dimensional. The show begins at the end of Abagnale’s luck as he is apprehended by FBI bank fraud investigator, Carl Hanratty. Before being carted off to jail, Abagnale decides to tell his hunters (and us the audience) how he got to be the man he pretended to be through the vehicle of a stage musical (how convenient). The next two or so hours chronicle how a sad boy witnessing his parents divorce decides to escape his life by becoming someone else and living life on the run. That’s it. Not a lot in the way of psychological exploration here. Even bigger opportunities regarding just how he pulled off “becoming” an airline pilot (ran into some flight attendants in a hotel) and a doctor (ran into some doctors at a party) are painfully missing as we’re supposed to just believe it effortlessly happened, not ask questions, and enjoy the chase.

For the most part, Abagnale is always running, and the other lead character (Hanratty) is always chasing. So, without much meat to the story (or the characters), all that’s left to enjoy is the music, dancing, and performances-all worthy of praise. Bentley Black appears to have made Memphis his home again and has turned in another stellar performance after his recent standout performance in BEAUTIFUL: THE Carole King MUSICAL at Theatre Memphis. As Frank Abagnale, Jr., Black has the charm and charisma to sweet talk his way out of any situation and sings like a bird (beautiful falsetto). Although the script doesn’t offer him much in the way of emotional range, Black sings and dances his tail off to make the most of what’s left. You can’t help but like the guy despite his life of crime.

John Maness (one of Memphis’ finest actors) is also stuck in the two-dimensional (bordering on one) character of Carl Hanratty. Dressed and sounding like a law agent straight out of 1960’s Central Casting, Maness growls, grimaces, and groans at his inability to capture his nemesis, Abagnale. He’s a man on a mission without a backstory leaving us all wondering what really drives him. Maness manages to garner some laughs and his “song and dance” routines are literally and figuratively entertaining-especially in “Don’t Break The Rules” which features a full chorus of tap-dancing FBI Agents.

Another character given too little to work with (compounded by arriving late on the scene) is nurse Brenda Strong played by Brooke Papritz. While masquerading as a doctor in ACT II, Abagnale falls for her and spins tale after tale to win her heart. Her reasons for falling for him are just as vague as why the audience should care, but she does fall and is willing to look past his dishonesties for love. Her 11 o’clock number, “Fly, Fly Away” highlights a voice that most Memphis audiences didn’t know Papritz has and it’s magnificent. If only her character could have shown up sooner.

Playing Abagnale’s parents are Amy P. Nabors as French born Paula Abagnale and Kent Fleshman as military man, turned huckster himself, Frank, Sr. Supposedly, it was this mother’s witnessed affair leading to his parents’ contentious divorce that propelled Junior on to a life of crime and impersonations, but this fuse is built more for a sizzle than a boom. Nabors’ character makes a few short appearances throughout, but never really gets a chance to make her mark as a woman who married too young and is eager to find a way out.

It’s only Frank, Sr. played by Kent Fleshman who gets to be a fully fleshed (Fleshman?) out human being with an arc from beginning to end. Starting out on a high note as a man who knows what it takes to impress in any given situation (often what you wear) and faltering as the years press on to an alcoholic demise, Fleshman hits every single note (in portrayal and song). Known for a booming voice, Fleshman shines as expected in “The Pinstripes Are All They See,” but then pivots dramatically by the end with a drunken, spoken rendition of “Little Boy Be A Man.” Fleshman proves here his versatility between singing a song and acting a song and it’s superb.

Tammy Holt leads a full orchestra full of brass, reeds and drums which immediately transports one back to the Vegas era of the Rat Pack. Close your eyes and you’ll just know that Frank Sinatra or Dean Martin might just walk out on stage and join Black and Fleshman as Holt’s orchestra fits right in.

With all that’s working well for this production, it’s time to get real. Playhouse on the Square needs to upgrade their sound system. The volume is not the issue, it’s the clarity. Even the best performers who have a mastery of their diction would be in danger here. Imagine your favorite musical theatre ballad. Now imagine listening to it at Burger King drive thru. These hardworking performers deserve to be understood and this sound system isn’t helping. It’s time for an upgrade.

Dave Landis has assembled an upper echelon cast of performers and his direction keeps things moving at a swift and enjoyable pace. Choreographer Daniel Stuart Nelson provides loads of iconic 60’s dance movements and his super talented ensemble of dancers give it all they’ve got. Most of Marc Shaiman’s songs are hummable enough (Not as good as HAIRSPRAY, but much groovier than CHARLIE AND THE CHOCOLATE FACTORY) and, overall, it's a fun time at the theatre. Catch it if you can.

Photos by Sean Moore

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